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Creating the Title Role in Moliere's the Misanthrope University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-13-2016 How to be a Misanthrope: Creating the Title Role in Moliere’s The Misanthrope David Cleveland Brown University of New Orleans, New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Acting Commons, Other Film and Media Studies Commons, Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Brown, David Cleveland, "How to be a Misanthrope: Creating the Title Role in Moliere’s The Misanthrope" (2016). University of New Orleans Theses and Dissertations. 2128. https://scholarworks.uno.edu/td/2128 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. How to be a Misanthrope: Creating the Title Role in Moliere’s The Misanthrope A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Film and Theatre Performance by David Brown B.A. Brigham Young University, 2007 May, 2016 Copyright 2016, David Brown ii Dedication I dedicate this to my loving and supportive wife Emily Ann Brown. Without her I would never have done any of this. iii Acknowledgements I am grateful for the guidance of the faculty and instructors at the University of New Orleans Department of Film and Theatre, including but not limited to David W. Hoover, Anthony (Tony) French, James Yeargain, Kevin Griffith, Henry Griffin, and John Neisler. The insight, wisdom and support of my fellow graduate students Sarah Beth James, Meghan Shea, Sam Malone, John Neisler, Tiffany Anderson, Arielle Brown, and Vinnie Matthews will always be remembered. I was privileged to work with, and learn from, my fellow students, both graduate and undergraduate. Special thanks must go to my astonishingly supportive wife, Emily Ann Brown and my children who allowed me to be away long nights in rehearsals and long days at school. iv Table of Contents Abstract .............................................................................................................................. vi Biography of Moliere ...........................................................................................................1 The Misanthrope ..................................................................................................................9 Stage Productions.........................................................................................................10 Modern Adaptations.....................................................................................................11 Rehearsal Journal ...............................................................................................................12 Class Discussion ..........................................................................................................38 Post-Mortem ................................................................................................................41 Character Analysis .............................................................................................................42 Alceste’s Backstory .....................................................................................................42 Bone Structure .............................................................................................................43 Relationships ................................................................................................................45 Acting Process ...................................................................................................................48 Practical Acting ............................................................................................................49 Stanislavsky as Mentor ................................................................................................55 Lessons from Stanislavski............................................................................................68 Improvisation Techniques ............................................................................................72 The Courage to Create .................................................................................................73 Empty Space ................................................................................................................76 Personal Review of my Work ............................................................................................78 Appendix ............................................................................................................................81 Scored Script ................................................................................................................81 Cast and Crew ............................................................................................................107 Rehearsal Schedule ....................................................................................................108 Works Cited .....................................................................................................................112 Vita ...................................................................................................................................113 v Abstract This thesis documents my research, rehearsal, and performance of the role of Alceste in Moliere’s The Misanthrope, which includes, a biography of Moliere, character analysis, role development, a rehearsal journal, character research, acting process, evaluation of my performance, and script analysis. The Misanthrope was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center September 17 - 19, 24 - 26 at 7:30pm, and September 27, 2015 at 2:30pm. Key Words: Misanthrope; Moliere; Alceste; Acting; David Cleveland Brown; Dreams Come True vi Moliere Jean-Baptiste Poquelin, who was more famously known on stage as Moliere, was a French actor and playwright in the 1600’s. One of the great comedic writers of his time, Moliere used comedy as a vehicle to explore taboo topics, such as religion and politics (Taylor 1). Although Moliere was an accomplished actor during his lifetime his legacy has endured mainly through his work as a playwright. A few of Moliere’s plays that are still produced today are The Misanthrope, Tartuffe, The Imaginary Invalid, and The School for Wives. Though Moliere lived almost 400 years ago his works have a contemporary value that is brought to life on stage today. Jean-Baptiste Poquelin was born on January 15, 1622 in Paris, France to Jean Poquelin and Marie Cresse. He was the first of four children. His mother, Marie, died in May, 1632 at the age of 31 when Moliere was just ten years old. After his mother passed away, Moliere moved to Paris with his father for the remainder of his childhood. Moliere’s father remarried a year after his mother’s death to Catharine Fleurette, but after only three years of marriage and two more children she too passed away. It has been hinted that Moliere’s stepmother was the inspiration for Beline, “the heartless, double faced stepmother in The Imaginary Invalid” (Taylor 7). His father continued providing for his family as a successful upholsterer and ran his shop from their home in Paris. Moliere first studied in a Parisian elementary school and was later accepted into the prestigious Jesuit College de Clermont, one of France’s best secondary schools at the time. It was here that Moliere practiced Jesuit drama, a stricter form of theatre that assimilated Christian values and Catholic doctrine into its themes. Moliere may have got his first taste of drama at this school but it was unlikely his main focus of study at the time. In 1642, Moliere started studying law with the plan to become a provincial lawyer, a career that was never ultimately realized. Up 1 until this point it seemed he was following the path his father intended for him, rubbing shoulders with nobility at the College de Clermont and studying a course toward a career in politics (Taylor 17). In June 1643, at the age of 21, Moliere decided to abandon his current career path and pursue a career as an actor. He moved out of his father's home and co-founded the Illustre Theatre with the actress Madeleine Bejart. Bejart was a young and colorful figure and was said to have already seen “much of the shadowy side of life” (Taylor 24). Moliere and Bejart at first may have been romantically interested in one another, but whether they shared a love interest or not, they undoubtedly shared a love for theatre. After less than two years, the theatre troupe went bankrupt in 1645. By this time Moliere was the head of the troupe, likely due to his natural ability to act and his legal background. The troupe
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